The gallery is transformed into a flexible space designed by architect Germane Barnes and artist Karen Rifas. Always in flux, the exhibition is home to a group show; a reference library based on the essay Botox Ethics, by artist and theorist, Katherine Behar; and to the second gathering of Paradise Commons, a loose group of artists and writers; a curator, a dancer and a librarian.

A timer will start the countdown for the performance. Each artist will be programmed to begin and end at a time designated through chance operations within the 120-minute interval. At times a poet will be reading while a sound artist is performing. A dancer will enter, perform and depart. Sounds will overlap. There will be silence. Every aspect of the performance will be unrehearsed, live, spontaneous, and uninterrupted. Audiences can come and go as the event clock ticks out of time.

Nathan Skiles, a Ringling professor, curates the annual Spectrum exhibit by recruiting three artists and mixing and matching their work in a single gallery.
This year, the space will feature Elisabeth Condon, Sue Havens and Kristen Schiele. “It’s sort of anti-collaboration,” Skiles says. “They don’t know who the other artists are going to be. The goal is to bring something together that can harmonize, but not so much that one person loses their identity. It should be a bit of a mystery, something that is revealed even to the artists.”

Wallpaper Dragon presents a single 129.54cm x 1005.84cm roll of watercolor paper undulating over the walls across the floor and exterior space of The Gallery. The scroll-like paper, literally supported by the Gallery walls, spills over and beyond them. Color and ink flow and merge together, containing imagery of goddesses and warriors with patterns from Condon's mother’s fabrics and wallpapers that further complicate the surface and unfolding of time.

The theme of the installation is freedom to re-imagine decor as the intersection between nature and culture. For an hour the Gallery contains a synthetic landscape transgressing the natural boundaries of its physical space.

The installation expands upon earlier site-specific installations made after Condon returned from China in 2014. Since then, her mother's vintage wallpapers and fabrics inspire her to incorporate the décor in her childhood home as a formative artistic influence. As a child Condon experienced the repeated patterns as confining, a trap. Now, setting the patterns and images free in a river of free-floating associations redefines the improvisational tecniques of scroll painting in dimensional space.
-Rangsook Yoon